The Con Is On In 'Catch Me If You Can'

Tour Plays Hartford's Bushnell This Week

The show: The national tour of the musical "Catch Me If You Can" at Hartford's Bushnell Center for the Performing Arts.

First impressions: Broadway musicals love their con men: Harold Hill, Sky Masterson, Billy Flynn, and now with "Catch Me If You Can," you can add Frank Abagnale Jr. a true-life swindler in the '60s who was just a teen when he started to write phony checks for millions while pretending to be an airline pilot, lawyer and doctor, all the while running a few steps ahead of the FBI. The story made a stylish, lightweight 2002 film and the short-lived 2011 musical based on the movie is also (mostly) well-crafted and makes for a pleasant enough time in the theater.

This non-Equity production tour has an uneven cast but the two leads anchor the show well, especially Stephen Anthony as young Frank. Anthony is a cross between a juvenile Tom Hanks and younger Dick Van Dyke, and while he is not in the same league with either, yet, his freshness, charm and talent give you the feeling that you're witnessing the beginning of a very bright career,

But my, the show goes on and on and though it has many small delights, it does seem to run in place far too much of the time.

What's it about:? Young Frank's dad is an out-of-luck con man. When his parents divorce, it sets the teenager into a tailspin. He runs away from his New Rochelle home to New York City where he realizes he's a chip off the old block,

To finance his new globe-trotting, fraudulent life — and to build a bundle to turn his father's fortunes around (and perhaps re-unite his parents) — Frank writes bad checks with alarming speed and success. The FBI is hot on his trail, especially one work-driven, follow-the-rules loner of an agent, Carl Hanratty, who is particularly obsessed with the case. (Think Javert as bureaucratic schulb.)

So it's all one big pursuit?: That's one of the problems in the show. It never alights long enough to develop any significant supporting characters other than Frank's one-note parents and his boring girlfriend.

The greatest impersonation of the night is the show's attempt to be a big musical. Like the best cons, it does so with confidence, speed and cleverness. But it never rings true nor fills the emotional needs of a great big musical. The pastiche music by Scott Wittman and Marc Shaiman ("Hairspray," TV's "Smash") is tuneful but forgettable. Jack O'Brien's original staging is efficient, like a skillful traffic controller. Terrence McNally's book hits some father-son notes and has a smart structural concept that turns Frank's story into a '60s TV-style variety show, but it just seems lacking.

Also dragging the show down are some serious clunkers in the second act. A big cheesy chorus number set in the South with a wealthy family welcoming Frank into its bosom comes across as anti-"Mame." A ballad by the tepid ingenue just as the show is wrapping up is dreary and deadening. And Frank's big 11 o'clock number is passionately sung but full of aimless angst.

Performances?: What I found continually engaging is Anthony's always likable performance. By casting Frank as a geeky teen rather than swoony lead (on Broadway the role was played by handsome and a much older Aaron Tveit), the audience is rooting for the kid's nerve while also being sympathetic to his naivete.

Merritt David Janes masters the Hanritty template established by Broadway's Norbert Leo Butz (who won a Tony). Caitlin Maloney looks swanky as Frank's French mom Paula, (and scores in the song "Don't Be a Stranger"). Dominic Fortuna as Frank's idolized father lands his luscious lounge low notes but lacks clarity and depth in the non-musical moments.

Production values?: Quite good for a non-Equity show and the 11-piece on-stage band is mighty groovy.

Who will like it?: Con artists and those who love them; "Smash" fans (the songs were the best part of that series).

Who won't: Those looking for something bigger, more substantial, less flawed in a Broadway series.

For the kids?: Teen as swindler-hero could be appealing for young entrepreneurs.

Twitter review in 140 characters or less: Catch as catch can.

Thoughts on leaving the parking lot?: Years ago there was a place on Broadway for moderately pleasing, modestly-scaled musicals. But in today's smash-flop mentality — and with ticket prices gulp-worthy — these "medium" shows can often be lost. There should be a place for them, too.

The basics: The show is playing the Bushnell, 166 Capitol Ave., Hartford through Sunday, June 2. The running time is 2 hours and 35 minutes, including one intermission. Information at 860-987-5900 and http://www.bushnell.org.

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